by Geneva T. Urizar, Historic Sites Development Officer I
Museo ni Jose B. Lingad

 

The 1960s in Manila were vibrant with a rich blend of music and arts, heavily influenced by Western culture, which undeniably left a significant colonial imprint on Philippine streets and the Filipino way of life. Once adorned with charming churches, plazas, and theaters, the old roads of Manila now find themselves cast in the shadows of towering American buildings. Entertainment districts resonate with melodies, showcasing the evolving musical landscape. Notably, the renowned Nuevo Calle underwent a transformation, taking on the name of Apolinario Mabini, the Philippine Revolution’s thinker. It was on this very street that a transformative movement was ignited, forever etching its mark on the Philippine art industry.

Mabini Street in Ermita, Manila, stands as a symbol of revolution. Its very name serves as a testament, heralding a noteworthy rise not merely as a melting pot of American cultural dynamics, but as an instrument of emancipation for Filipinos yearning to make their mark in the burgeoning world of fine arts. These pioneering artists, soon to be known as “Mabini artists,” boldly initiated exhibitions and eventually established art galleries along the historic streets of Ermita, vehemently protesting the prevailing trend of favoritism towards a select few artists. In doing so, they sought to challenge the existing patronage system and elevate their own artistic voices to prominence.

The emergence of Mabini Street as an artistic hub gave rise to notable pioneers such as Gabriel Custodio, Simon Saulog, Miguel Galvez, Serafin Serna, Antonio Dumlao, Cesar Buenaventura, Ben Alano, and Crispin V. Lopez. Inspired by their revered mentor, Fernando Amorsolo, these artists embarked on a creative journey that celebrated conservatism in fine arts, characterized by a dedication to preserving traditional values while restricting change and innovation. In the 1930s, the ability to skillfully replicate famous artworks became a litmus test for artists, reinforcing the importance of adhering to established artistic styles. Aspiring artists, including fine arts students, were often tasked with reproducing a masterpiece within a limited timeframe. Consequently, Mabini Ermita became an aesthetic sanctuary for Filipinos and a nurturing ground for the burgeoning careers of fine artists in the country. Visitors flocked to Ermita, eagerly seeking inexpensive reproductions of renowned Filipino artworks. According to Dr. Pearl E. Tan, while many of these paintings may appear as inexpensive imitations, the first generation of Mabini artists were by no means lesser painters. They were the products of the country’s esteemed fine arts education system, particularly the University of the Philippines and the University of Santo Tomas.

With the anticipation of international critics and media, the number of customers was expected to grow significantly. The Manila streets had become a magnet for the American population, drawn to the exotic charm and ingenuity of the locals. Many of these visitors developed a deep affection for the picturesque Philippine landscapes, characterized by serene cool colors and vibrant imagery. As a result, palm and coconut trees emerged as aesthetic symbols, and artworks reflected the country’s cultural heritage becoming sought-after souvenirs. While conservatism in art emphasized the enduring value of traditional styles, a growing demand for uniqueness and authenticity came about. Paintings served as decorations that catered to the budget-conscious sensibilities of discerning Americans, as well as to fill the color-deprived houses of Filipinos, which have been affected by the ravages of war.

Building upon the opportunities created by the pioneering Mabini artists, a new wave of second-generation artists found their place along Mabini Street and its surrounding areas. During the 1960s to the 1990s, these artists established art galleries, seizing the chance to expand their artistic endeavors in line with the growing tourism industry. The Marcos administration, recognizing the importance of showcasing the beauty and authenticity of both urban and rural Filipino life, placed emphasis on promoting these aspects. Among the notable artists of this era were R. Zablan, J. Pulido, Paco Gorospe, Asing Wong, and the Gonzales siblings—Rexi, Rick, Rudy, Felix Jr., and Emy Lopez. Together, they contributed to the flourishing art scene and played a vital role in capturing the essence of the Filipino experience for both local and international audiences.

Preserving History and Legacies at the Museo ni Jose B. Lingad

Years ago, the Philippines faced a dark chapter in its history when the Japanese forces occupied the country, subjecting Filipinos to a period of immense suffering and displacement. Many were forced to flee their homes or reluctantly comply with the new ruling power. One particularly tragic event was the infamous death march, which involved the forced movement of thousands of Filipino and American soldiers. It is worth remembering the heroic stand made by the USAFFE (United States Army Forces in the Far East) in Bataan, where Filipino soldiers valiantly fought against overwhelming odds. However, their eventual surrender in April 1942 marked the beginning of an even greater tragedy. Sick, wounded, and weakened by hunger and thirst, these brave soldiers were compelled to endure a grueling march from Bataan to the San Fernando railway station in Pampanga. From there, they were transported to Camp O’Donnell, a prisoner-of-war camp in Capas, Tarlac, where further suffering and loss of life awaited them. This harrowing episode serves as a stark reminder of the sacrifices made by these individuals and the immense toll that war can inflict on humanity.

Among the many brave soldiers who endured the harrowing Death March, Jose B. Lingad stands as a remarkable figure. Despite being afflicted with malaria, Lingad mustered the courage to devise an escape plan. He knew that the march would pass through Lubao, so he concealed himself in a ditch until it was safe to make a move. Fortunately, he was able to establish contact with local residents who recognized him and offered their assistance. They brought him back to his hometown of San Jose Gumi, providing him with a safe refuge.

Lingad’s life and contributions, both in politics and during times of war, are commemorated at his ancestral house in San Nicolas 1st, Lubao, Pampanga. It serves as a repository for his legacy, documenting the significant events and achievements of his remarkable journey. Tragically, Lingad’s final days were marred by tragedy. He was assassinated in San Fernando, Pampanga, during the 1980s election period. This unfortunate event serves as a somber reminder of the risks and challenges faced by those who choose to dedicate themselves to public service and the pursuit of a better society.

The Museo ni Jose B. Lingad stands as a fitting tribute to the life and lasting impact of this esteemed individual. Spanning two floors, the museum serves as a commemorative space where visitors can explore and appreciate the multifaceted legacy of Jose B. Lingad. It introduces Lingad as a veteran politician, a valiant war hero, and a passionate advocate for Philippine democracy and fair elections. It stands as a testament to his enduring relevance and serves as a reminder of the values and ideals that he fought tirelessly to uphold.

Unearthing the Artist Behind the Portrait of Jose B. Lingad

During the inventory of the museum collections, a remarkable discovery was made—a vintage portrait of Jose B. Lingad. The portrait, believed by the Lingad family to have been commissioned in 1988 to honor their father, showcases his enduring presence and significance. Despite enduring exposure to flooding and extreme weather conditions in Lubao, Pampanga, before restoration, the painting has managed to retain its pristine condition. However, the captivating aspect of the artwork lies in the artist’s ability to intricately capture the essence of Lubao’s post-World War II governor. Lingad’s visage remains captivating, preserving his charismatic presence and the spirit with which he led the province.

Jose B. Lingad, c. 1988

The Museum embarked on a diligent quest to verify the painter’s signature on the portrait of Jose B. Lingad. Recognizing the challenges posed by the illegible signature, the Museum sought the assistance of Mr. Alex Castro, a knowledgeable Kapampangan art collector. Mr. Castro proposed an innovative approach, suggesting that tilting the painting and viewing it from below might help decipher the elusive signature. This technique has proven effective in revealing hidden details in many old paintings that are difficult to discern when viewed head-on. With careful manipulation of lighting and an unwavering curiosity, the signature gradually emerged, displaying the letters “E” and “L.” This breakthrough provided a valuable clue in the investigation. To delve deeper into the origins of the artwork, the Museum decided to remove the non-acidic tape from the back of the painting’s wooden frame. This revealed an intriguing label that read “E.L. Art Gallery,” providing a crucial second clue in the search for the painter’s identity.

Artist label at the verso of the painting gives a short information about its origin

The revelation that the label on the artwork mentions E.L. Art Gallery, located in Ermita, Manila, opens up a fascinating connection to the art movement that originated on the streets of Ermita. Mr. Castro’s suggestion that the painting may be attributed to one of the Mabini artists who established art galleries in Ermita during the peak of the art movement holds significant weight. The movement initially began as a protest by a group of artists on Mabini Street and later evolved into the establishment of galleries where artists could paint and sell their works, striving to keep up with the growing popularity of Victorio Edades (Hartung, 2013). During that time, customers would flock to the street to commission paintings directly from the artists, often requiring only a picture to be transformed into a unique artwork, signed by the house artist who was usually the gallery owner as well. Dr. Pearl E. Tan’s comprehensive work, “The Mabini Art Movement Exhibition and Book,” highlights the presence of at least three generations of Mabini artists who thrived on Mabini Street.

The first generation, known as the “Maestro,” emerged in the post-World War II period. One notable artist from this generation was Crispin V. Lopez (1903-1985), a painter hailing from Bulacan. Lopez had the privilege of receiving private tutelage from his grandfather, Eugenio Lopez, a renowned portraitist from the province (Tan, 2013). With his reputation as one of the country’s best portraitists and vivid realists, Lopez garnered attention both locally and internationally, earning invitations to exhibit his works in various auctions. His exceptional skills even led him to win a painting competition for Rizal’s portrait during the celebration of the national hero’s centenary birthday (Castro, 2013).

The historical context surrounding Crispin V. Lopez and the vibrant Mabini art movement provides a compelling narrative that supports the possibility of the portrait of Jose B. Lingad being associated with one of the Mabini artists and the E.L. Art Gallery in Ermita. Further research and exploration may unravel more about the artist behind the painting and shed light on the fascinating interplay between the artists, galleries, and the dynamic art scene of that era.

During that period, Crispin V. Lopez’s gallery was initially situated on A. Mabini Street. However, due to increasing competition, the gallery later relocated to Antonio Flores Street, a peripheral street near Mabini Street, and positioned just behind the Church of Ermita. This strategic move allowed the gallery to maintain its presence while adapting to the evolving art scene.

Regrettably, Crispin V. Lopez passed away in 1985, leaving behind a remarkable legacy. His daughter, Emy Lopez, stepped forward to carry on his artistic heritage. As one of the few female artists who rose to prominence in the cultural art industry of Ermita, Emy faced the challenging task of establishing her own unique style within the world shaped by the forerunners of the Mabini movement. Being the daughter of the renowned Maestro C.V. Lopez added both pressure and opportunity to her artistic journey.

Emy Lopez, along with Ressureccion Gonzalez (daughter of renowned artists Felix Gonzalez), formed a significant part of the second generation of the Mabini art movement. These two documented female artists continued to operate art galleries in Ermita, contributing to the expansion of customer choices and preferences. They prioritized a wide range of artistic themes, including street scenes, human interest, wildlife, religion, abstracts, and old masters. These expanded options paved the way for the exploration and development of these themes by the subsequent third generation of artists within the Mabini movement.

Emy Lopez’s notable clients included the Lingad family, further cementing the connection between her gallery and the portrait of Jose B. Lingad. The intertwining stories of the Lopez family, the Mabini art movement, and the Lingad family provide a rich tapestry of artistic history, cultural significance, and personal connections within the dynamic art scene of Ermita.

The tragic assassination of Jose B. Lingad in Barangay San Agustin, San Fernando, Pampanga, cast a pall of grief and solemnity over the entire province. In the aftermath of his untimely passing, there arose a collective desire to immortalize Lingad’s remarkable legacy. Tasked with this important endeavor was Emy Lopez, the esteemed artist and daughter of the late Maestro Crispin V. Lopez. To capture the essence and enduring spirit of Jose B. Lingad, Emy Lopez embarked on a poignant artistic journey. Her starting point was a photographic portrait of Lingad, taken by the prestigious Blackstone-Shelburne photography studio in New York City during the 1960s. This photograph served as a source of inspiration, enabling Emy to meticulously recreate Lingad’s likeness and portray his charismatic visage.

Crispin V. Lopez. Portrait, undated                                   Dr. Jose Rizal portrait artwork by Lopez, 1961Oil on masonite board. 27 x 20” (69 x 51 cm).

Portrait photograph of Joe B. Lingad, c. 1960s

According to Mr. Klaus W. Hartung, the President of the Magkaisa Mabini Art Collection, the painting shares a similar essence with Emy Lopez’s other artistic creations. In Dr. Tan’s book, she highlights that the second-generation Mabini artists, although they developed distinctive styles, did not heavily incorporate radical innovations. Notably, they signed their real names in the lower corners of their artworks. As most of the second-generation artists embraced a modernist approach, Emy Lopez’s artistic inclination leans towards modern abstract art.

Emy Lopez close up signature, c. 1971

THE STREETS OF MANILA.
Oil on canvas
24 in. x 36 in.
Emy Lopez, 1960s.

Emy Lopez, recognizing the significance of the art scene, decided to establish herself in Ermita and introduced her distinctive modernist style. Despite being the daughter of the esteemed Maestro Crispin, she remained true to her artistic roots, primarily focusing on depicting Philippine landscapes and still life in her works.

Highway
Oil on canvas
Emy Lopez, 1971

To this day, Emy Lopez’s paintings stand as a testament to the resilience and talent of women artists in the male dominated Mabini artistic community. In the earlier generations of Mabini artists, there was a tendency towards imitation, where the focus was on replicating well-known artworks and catering to commercial demands. However, with the advent of the second generation, there arose a sense of anticipation surrounding Emy Lopez’s career, as she had the potential to make a significant impact in the industry. Emy Lopez’s artistry, characterized by a unique and trusted style, propelled her to become one of the most highly sought-after artists in the Philippines during the 20th century. Her paintings not only showcased her exceptional skills but also represented a shift towards originality and personal expression, transcending the boundaries of mere imitation. Through her work, Emy Lopez played a pivotal role in elevating the status of women artists and leaving an indelible mark on the artistic landscape.

Lopez’s portraiture reflects the profound impact of Lingad’s legacy on the province of Pampanga. Through her artistic portrayal, she captures Lingad’s unwavering dedication to public service, a quality that even his critics cannot disregard. Just as Lingad fearlessly confronted the political giants of the 1970s, Lopez’s success and prominence in the male-dominated art scene serve as a parallel testament to her own thriving career.

Art Illuminated: Project Alaya’s Creative Advocacy

            Project Alaya is a celebration of the local Kapampangan artists who are actively contributing to the promotion of the province’s vibrant art scene. With the collaboration of the Philippine Pastel Artist Incorporation and Suli ning Lubao, an exciting exhibit will be held at the Museo ni Jose B. Lingad from June 30, 2023, to July 7, 2023. The highlight of the exhibit will be Emy Lopez’s captivating portrait of Lingad.

            During a recent two-day workshop attended by Kapampangan artists, the esteemed Maestro Rafael “Paeng” Maniago made a memorable appearance. He took the time to admire the Lingad portrait displayed in Gallery 1 of the museum, offering his sincere praise. It serves as a remarkable testament to the recognition and admiration a maestro bestows upon a fellow maestro’s exceptional artwork.

 

Works cited.

Quingco II, Oliver and Hartung, Klaus W.  (2013) Revisiting ‘Mabini art’ : A book about the history of Mabini art and its significance in the development of Philippine visual arts . Würzburg, Germany: Transwing.

Tan, Pearl E.(2013). The Mabini Art Movement.Cultural Center of the Philippines. 

CASPER, L. (1989). Ermita: After the Wake, Before the Awakening [Review of ERMITA, by F. S. Jose]. Philippine Studies, 37(4), 503–508. http://www.jstor.org/stable/42633153

Castro, Alex. (2013, February 2013). I am a certified ebay JUNKIE.  Mekiniland: A Miscellany of me. https://mekeniman.blogspot.com/search?q=crispin+lopez

https://www.askart.com/auction_records/Emy_Lopez/

https://lifestyle.inquirer.net/357512/mabini-art-makes-a-comeback/

https://www.tatlerasia.com/lifestyle/arts/the-art-of-mabini-street-in-ermita-manila